stem directions in music for voice and guitar
Attached is the beginning of an arrangement for voice and guitar. The guitar part is two part counterpoint in which I would like to control where the steps go up or down. (1) In the guitar part, even though I have \voiceOne marked with \stemUp and \voiceTwo marked with \stemDown, why do the stems go down in both voices? (2) Is this snippet considered an example of "best practice", or how might others structure a file for such a group of instruments? Thank you for your help. \version "2.16.0" \include "english.ly" \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \stemDown c''2 c''4 d''2e''4 e''8 d''8 c''8 b'4 a'8 b'2 r4 } \new Staff = "guitar" { \clef "treble_8" \time 3/4 << \voiceOne { \stemUp c'2 c'4 b2 a4 c'8 d'8 e'4 f'4 e'4 d'2 } \voiceTwo { \stemDown c2 c4 g2 c'4 r4 g'4 d'4 g'4. fs'4. } >> } >> } % score ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
RE: stem directions in music for voice and guitar
Ivan: When I write polyphony for the piano I use << { %here pitches for top voice } \\ { %here pitches for bottom voice} >>. Lilypond seems to take care of the stem directions. I reset you example using this format. Some notes of the voices might need to be adjusted. \version "2.16.0" \include "english.ly" \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \stemDown c''2 c''4 d''2e''4 e''8 d''8 c''8 b'4 a'8 b'2 r4 } \new Staff = "guitar" { \clef "treble_8" \time 3/4 <<{ c'2 c'4 | b2 a4 | c'8 d'8 e'4 f'4 | e'4 d'2 } \\ { c2 c4 | g2 c'4 | r4 g'4 d'4 | g'4. fs'4.} >> } >> } % score Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of ivan.k.kuznet...@gmail.com Sent: Friday, March 15, 2013 8:52 PM To: lilypond-user@gnu.org Subject: stem directions in music for voice and guitar Attached is the beginning of an arrangement for voice and guitar. The guitar part is two part counterpoint in which I would like to control where the steps go up or down. (1) In the guitar part, even though I have \voiceOne marked with \stemUp and \voiceTwo marked with \stemDown, why do the stems go down in both voices? (2) Is this snippet considered an example of "best practice", or how might others structure a file for such a group of instruments? Thank you for your help. \version "2.16.0" \include "english.ly" \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \stemDown c''2 c''4 d''2e''4 e''8 d''8 c''8 b'4 a'8 b'2 r4 } \new Staff = "guitar" { \clef "treble_8" \time 3/4 << \voiceOne { \stemUp c'2 c'4 b2 a4 c'8 d'8 e'4 f'4 e'4 d'2 } \voiceTwo { \stemDown c2 c4 g2 c'4 r4 g'4 d'4 g'4. fs'4. } >> } >> } % score ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stem directions in music for voice and guitar
On 16/03/13 15:15, Mark Stephen Mrotek wrote: Ivan: When I write polyphony for the piano I use << { %here pitches for top voice } \\ { %here pitches for bottom voice} >>. Lilypond seems to take care of the stem directions. I reset you example using this format. Some notes of the voices might need to be adjusted. \version "2.16.0" \include "english.ly" \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \stemDown c''2 c''4 d''2e''4 e''8 d''8 c''8 b'4 a'8 b'2 r4 } \new Staff = "guitar" { \clef "treble_8" \time 3/4 <<{ c'2 c'4 | b2 a4 | c'8 d'8 e'4 f'4 | e'4 d'2 } \\ { c2 c4 | g2 c'4 | r4 g'4 d'4 | g'4. fs'4.} >> } >> } % score Mark -Original Message- From: lilypond-user-bounces+carsonmark=ca.rr@gnu.org [mailto:lilypond-user-bounces+carsonmark=ca.rr@gnu.org] On Behalf Of ivan.k.kuznet...@gmail.com Sent: Friday, March 15, 2013 8:52 PM To: lilypond-user@gnu.org Subject: stem directions in music for voice and guitar Attached is the beginning of an arrangement for voice and guitar. The guitar part is two part counterpoint in which I would like to control where the steps go up or down. (1) In the guitar part, even though I have \voiceOne marked with \stemUp and \voiceTwo marked with \stemDown, why do the stems go down in both voices? (2) Is this snippet considered an example of "best practice", or how might others structure a file for such a group of instruments? Thank you for your help. \version "2.16.0" \include "english.ly" \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \stemDown c''2 c''4 d''2e''4 e''8 d''8 c''8 b'4 a'8 b'2 r4 } \new Staff = "guitar" { \clef "treble_8" \time 3/4 << \voiceOne { \stemUp c'2 c'4 b2 a4 c'8 d'8 e'4 f'4 e'4 d'2 } \voiceTwo { \stemDown c2 c4 g2 c'4 r4 g'4 d'4 g'4. fs'4. } >> } >> } % score I think it's better to use named voices. And in single staff polyphony, the stem direction is taken care of by the voices without having to explicitly set it - voiceOne and voiceThree default to stemUp, voiceTwo and voiceFour to stemDown. \version "2.16.0" \include "english.ly" vocal = { c''2 c''4 | d''2 e''4 | e''8 d''8 c''8 b'4 a'8 | b'2 r4 | } guitarUpper = { c'2 c'4 | b2 a4 | c'8 d'8 e'4 f'4 | e'4 d'2 } guitarLower = { c2 c4 | g2 c'4 | r4 g'4 d'4 | g'4. fs'4. } \score { << \new Staff = "voice" { \clef "treble" \time 3/4 \new Voice { \stemDown \vocal } } \new Staff = "guitar" { \clef "treble_8" \time 3/4 << \new Voice { \voiceOne \guitarUpper } \new Voice { \voiceTwo \guitarLower } >> } >> } % score ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stem directions in music for voice and guitar
ivan.k.kuznet...@gmail.com writes: > Attached is the beginning of an arrangement for > voice and guitar. The guitar part is two part counterpoint > in which I would like to control where the steps go up or > down. > > (1) In the guitar part, even though I have \voiceOne marked with \stemUp > and \voiceTwo marked with \stemDown, why do the stems go down > in both voices? Because there is only ever one voice. To create new voices, you need to write << ... \\ ... >> or explicitly \new Voice. If you write << ... >> that is just a way of rearranging the writing order in a single voice. In this particular case, all of \voiceOne \stemUp \voiceTwo \stemDown happen at the same musical time in the same voice. \voiceTwo takes effect, and \stemDown does nothing more since it is already implied in \voiceTwo. > << > \voiceOne > { > \stemUp > c'2 c'4 > b2 a4 > c'8 d'8 e'4 f'4 > e'4 d'2 > } > \voiceTwo > { > \stemDown > c2 c4 > g2 c'4 > r4 g'4 d'4 > g'4. fs'4. > } > >> -- David Kastrup ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user
Re: stem directions in music for voice and guitar
Thanks to everyone who responded. "Mark Stephen Mrotek" writes: > > When I write polyphony for the piano I use > << > { %here pitches for top voice > } > \\ > { %here pitches for bottom voice > } > >> Yes, your solution works and I have used it in the past. I was trying to figure out how to use the "named voices" technique as I was told it might be better for the polyphonic guitar music that I write. And Mr. Nick Payne showed me how to do just that. Then, David Kastrup wrote: > > ivan.k.kuznet...@gmail.com writes: > > > (1) In the guitar part, even though I have \voiceOne marked with \stemUp > > and \voiceTwo marked with \stemDown, why do the stems go down > > in both voices? > > Because there is only ever one voice. To create new voices, you need to > write << ... \\ ... >> or explicitly \new Voice. If you write << ... >> > that is just a way of rearranging the writing order in a single voice. > In this particular case, all of \voiceOne \stemUp \voiceTwo \stemDown > happen at the same musical time in the same voice. \voiceTwo takes > effect, and \stemDown does nothing more since it is already implied in > \voiceTwo. Thank you for your explanation. So I was missing the the "\new Voice" tags and brackets. To create this guitar and voice example, I began working working from a piano choral example that I had posted on this list and received some feedback on. I got the example to work in that it did what I wanted, but perhaps it was still not an example of lilypond best practices. Although it is a four voice choral for piano, at no time does this example use the "\new Voice" tag. Appended is my working example for this choral. Should I be using the "\new Voice" tag in this appended example? Might I be headed for problems working this way without the "\new Voice" tag? Thank you all again for your help and feedback. \version "2.16.0" \include "english.ly" \score { \new PianoStaff << \new Staff = "up" { \clef "treble" \time 4/4 \key cs \minor << \voiceOne { \stemUp e'2 e'2 e'2 fs'2fs'2 e'2 ds'!2 ds'2cs'1 } \voiceTwo { \stemUp cs'2 cs'2 cs'2 d'2 bs2 cs'2 cs'2 bs2 gs1 } >> } \new Staff = "down" { \clef "bass" \time 4/4 \key cs \minor << \voiceThree { gs2 gs2 a2 a2 gs2 gs2 gs2 fs2 e1 } \voiceFour { cs2 b,2 a,2 fs,2 gs,2 gs,2 gs,2 gs,2 cs1 } >> } >> \layout { \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 8) } } \midi { \context { \Staff \remove "Staff_performer" } \context { \Voice \consists "Staff_performer" } \context { \Score tempoWholesPerMinute = #(ly:make-moment 96 4) } } % \midi } % score ___ lilypond-user mailing list lilypond-user@gnu.org https://lists.gnu.org/mailman/listinfo/lilypond-user